2; the literal repetition of Part I is written out; Parts II and III have the repetition-marks.
MODIFIED REPETITIONS .-- The quality and extent of the changes that may be made, in order to enrich the composition without altering its structural design, depend, as has been intimated, upon the judgment and fancy of the composer.

The student will find no part of his analytical efforts more profitable and instructive than the careful comparison of these modified repetitions with the original Parts; nothing can be more fascinating and inspiring to the earnest musical inquirer, than thus to trace the operation of the composer's mind and imagination; to witness his employment of the technical resources in re-stating the same idea and developing new beauties out of it,--especially when the variations are somewhat elaborate.
It must be remembered that mere repetition (even when modified,--as long as it can be proven to be nothing more than repetition) does not alter the form.

A phrase, repeated, remains a phrase; _nothing less than a decided alteration of the cadence itself_ will transform it into a double-phrase (or period).

Similarly, a period, repeated, remains a period, and does not become a double-period; and a Part, repeated, remains the same Part.

Therefore, the student will find it necessary to concentrate his attention upon these larger forms, and exercise both vigilance and discrimination in determining which sections of his design come under the head of "modified repetition." For an illustration of the _repeated First Part_, see the 9th Song Without Words; Part I is a four-measure period (of two small phrases) closing in the seventh measure; the following four measures are its modified repetition.